Jan/Feb 2002 **PRINT**

Glass Art January/February 2002 issue

Sculptural Intelligence Gracefully Unfurled: Dick Weiss’ Screens
With his self-deprecating sense of humor intact, Dick Weiss has survived 30+ years in the glass arts, and emerged in the new millennium with a body of work that decorates and delights, but also has some “meat”.

Interpretation Part I: It’s Your Call
This article by Butch Young and Rita Long will appear in two segments: this one covering basic design and various finished products; the next issue will thoroughly examine the various possibilities inherent within a given pattern.

Ribbons of Remembrance
Debbie Tarsitano reveals how she has changed as a glass artist following the events of September 11. She also demonstrates how to make a red, white and blue Ribbon of Remembrance, and talks with other artists about how their work has changed since the tragedy.

Temperature Measurement and Control for Firing Glass: Part II
Dan Fenton discusses switches, shut-off devices and controllers.

Beware These Top 10 Dangers in Your Fire Insurance Policy
Because of a number of dangerous provisions commonly encountered in fire insurance policies, the cash you receive may be far less than you expect. A policy riddled with loopholes can even threaten your survival. Phillip Perry explains.

The Window’s Tale
In Sarah Hall and Jeffrey Kraegel’s final article, they share a stained glass mystery. During recent repairs to the framework around the “Adam” window at Canterbury Cathedral in England, one of the workers received a nasty bump on the head from a piece of falling stone and fell unconscious. When she awoke, she had a bemused look on her face, and asked for a pencil and paper. She then set down the following narrative.

Wind’s Eye Gallery Featuring the Work of Darko Lesjak
Darko Lesjak was born in Slovenj Gradec, Slovenia in 1966. Lesjak became interested in glass painting both through Professor Reipka and his long-held interest in the artistic and symbolic potential of transparency. Propelled by the desire to achieve more fluid works with limitless depth, Lesjak began creating float glass paintings in collaboration with the studio of Gustav Van Treeck in Munich. With the technical support of the studio, Lesjak has succeeded in creating large-scale paintings that completely reflect his artistic vision.

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